THEATER REVIEW: The laughs are in full bloom in 'The Producers'

Friday

Aug 11, 2017 at 6:30 AM

Priscilla Beach Theatre presents a spirited and well-executed show with an ample supply of comic flair.

By Jim Dorman/For The Patriot Ledger

First impressions are important and Priscilla Beach Theatre makes a splendid one as they crisply begin their production of Mel Brooks’ “The Producers” with musical numbers “Opening Night” and “The King of Broadway.” The acting, singing, dancing, comedy and costumes are sharp as the cast introduces Max Bialystock, “the worst producer on Broadway,” while providing a strong indicator of the entertainment level on tap for the evening.

Ron Fassler, an actor with many movie and television credits, returns to direct his third production (“Fiddler on the Roof” and “A Funny Thing Happened on the Way to the Forum”) at the “Broadway in a Barn” theater. His enthusiasm for acting and the theater has rubbed off on his young cast, as they turn in a spirited and well-executed performance, featuring an ample supply of comic flair.

“The Producers” is the celebrated 2001 Broadway musical based on a well-loved 1968 non-musical film starring Zero Mostel and Gene Wilder. Both were written by Mel Brooks with Thomas Meehan joining him to write the book. Brooks handled the music and lyrics himself. The musical starred Nathan Lane and Matthew Broderick. It won 12 Tony Awards and still holds the record for most wins. Through a connection with Fassler, Lane wrote a letter to the cast that was read by producer Bob Malone prior to the show, poking lots of fun at Plymouth, but wishing them well with the production.

For the uninitiated, “The Producers” is the story of Bialystock, a colorfully unscrupulous Broadway producer who unites with Leopold Bloom, his mild-mannered and anxiety-ridden accountant, in a scheme to put on a flop that will make them $1 million each. After reading through many scripts they choose “Springtime for Hitler,” a story celebrating the life of the Nazi leader and his infamous Third Reich, which they believe will be guaranteed to fall flat on opening night. Or, will it?

One of the most important aspects of the “The Producers,” is that it not only entertains us with over-the-top characters and situations, but somehow, it makes us care about them. Michael Caizzi plays Max Bialystock. In appearance and delivery, he recalls classic comedy performers of the past. Fully in control, he guides us through (or is involved in) 11 musical numbers, including a romp with his mature female admirers (“Along Came Bialy,”) and culminating in his pivotal solo delivery of “Betrayed,” a number that impressively summarizes the entire show to that point.

Matt Kurzyniec as Leo Bloom provides a perfectly uncomfortable counterbalance to Caizzi’s brash Bialystock. In his wonderful performance of “I Want to Be a Producer,” which features the smartly appointed female chorus, he steps out of his mousy role as an accountant and imagines what life might be like. It’s an early show-stopping performance and demonstrates Kurzyniec’s ability to transform. Kurzyniec and Caizzi develop strong chemistry throughout the show, which makes the ending that much more satisfying. And surprisingly, Bloom and Ulla, played by Kristen Ivy Haynes, develop some genuine affection as well.

Haynes does well as Ulla, the overtly sexual plaything of Bialystock and Bloom (“When You’ve Got It, Flaunt It,”), but is better at conveying a little warmth and desire with Kurzyniec in Act II (“That Face”). Because so much of her character is based on appearance, it would be nice if a less prominent placement of her microphone pack, rather than the small of her back, could be found for her second costume.

Act I is about 90 minutes long, but it doesn’t seem so because we are introduced to so many hilarious characters and situations. Jeremiah O’Sullivan is outrageous in lederhosen as Franz Liebkind, the ex-Nazi and author of “Springtime for Hitler” as he sings and dances “In Old Bavaria” with his Nazi pigeons and with Max and Leo in “Der Gutten Tag Hop-Clop.”

But, before we have fully recovered from that, Austin Nguyen (Carmen Ghia) Nicky Mendelsohn (Roger De Bris) and the entire male chorus arrive to crack us up with “Keep it Gay,” a well-executed and extremely funny chain of events that sets us up for Act II. Nguyen and Mendelsohn are fabulous in these instantly lovable and uproarious roles and the ensemble makes the whole thing soar.

After such a fantastic set up, the show soars further while celebrating the fatherland and everything German in “Springtime for Hitler,” before catching its breath to tie up some loose ends and bring us to a satisfying conclusion.